Game Design

Crush of Bones. Week 2 - by Andrei Semiankovich

Gamasutra.com Blogs - 22 August 2018 - 6:47am
The "Crush of Bones" project at Polygon Gamelab #Release completed its second week. During the week efforts of all departments (game design, marketing, art, developers) were aimed at finding the optimal control system, visual style and creating a story.
Categories: Game Theory & Design

Ideas and dynamic conversation in Heaven's Vault - by Jon Ingold

Gamasutra.com Blogs - 22 August 2018 - 6:37am
Heaven's Vault uses a knowledge model to track the player's activity and offer valid actions and dialogue. But it's also letting us give our characters' something else: a train of thought to guides what they say, when.
Categories: Game Theory & Design

Imperfect GM: Overpreparing vs. Going with the Flow

RPGNet - 22 August 2018 - 12:00am
How to stop overpreparing and love the flow.
Categories: Game Theory & Design

Analyst: More players are making in-app purchases (with less nudging)

Social/Online Games - Gamasutra - 21 August 2018 - 11:42am

A new report from Liftoff seeks to trace user acquisition trends in recent mobile game history, offering devs a peek at the ebbs and flows of spending habits in the mobile games space.  ...

Categories: Game Theory & Design

Scum and Villainy Review

Gnome Stew - 21 August 2018 - 5:00am

There is something about space opera that just begs for the inclusion of rogues, thieves, and criminals. Sure, Star Wars has Han, Lando, Boba Fett, and Jabba the Hutt, but even Star Trek has its Harry Mudd and its Orion pirates. Even comic book universes known for their superheroes seem to have their share of interstellar rogues, with the Marvel universe providing the Starjammers and the Guardians of the Galaxy, and the DC Universe providing L.E.G.I.O.N.

There definitely seems to be a demand for rogues plying the starlanes, pulling heists, collecting bounties, and sticking it to the (space) Man.

Scum and Villainy is a Forged in the Dark game (based on the core rules of Blades in the Dark) that takes its inspiration from media like Star Wars, Firefly, and Cowboy Bebop, with characters profiting from crime in the backwaters of the Hegemony.

Artifact Parameters

Scum and Villainy is a 360-page volume, with a color cover and black and white interior artwork. In addition to the black and white line art, there are a few system maps detailing the Procyon sector, as well as many charts and tables throughout.

The book is formatted with bold, clear text, and is very easy to read. If you have seen Blades in the Dark, the format is what you might expect from a sci-fi spin on that same theme. The physical book is a solid chunk of well-constructed lore, which arrived just as I was starting my review process.

The Basics

The initial section in the book, The Basics, gives a broad overview of what the game is about, how it is played, and touches briefly on mechanics that are fleshed out in the later sections of the book.

Some of the important topics introduced up front include:

  • Progress Clocks
  • Action Rolls
  • Position and Effect
  • Consequences and Harm
  • Resistance Rolls
  • Fortune Rolls

If you haven’t played a Forged in the Dark Game, the basics include rolling a set of d6s and taking the highest rolled die as your result. A 1-3 indicates that you don’t get what you were hoping for. A 4-5 indicates that you achieved at least part of what you were trying to do, but with a complication of some sort. A 6 indicates that you got what you were aiming for, and multiple 6s indicate a critical success.

Adding to that basic structure is position and effect. When a challenge comes up in the game, the GM describes that challenge, but the players decide what skill they want to use to address that challenge. Based on the situation and the skill chosen, the GM then explains the position (controlled, risky, or desperate), and the effect (none, lesser, standard, or greater).

Position will determine how severe the consequences for the various levels will be. A character that rolls a 1-4 in a controlled situation may just realize their approach isn’t working and may be free to come up with a new idea. That same roll in a risky position might alert security, which will arrive soon, and in a desperate situation may get the character zapped by a nearby security drone that they failed to notice.

Some tasks may require an extended effort to complete, and some situations might get progressively worse or better over time. These are tracked with clocks. The GM determines how much time or how much effort must go into what the clock is representing, then draws some lines to create an even number of segments (the smallest clock being a 4-part clock).

For tasks that involve clocks, an action with limited effect may fill up less of the clock than one that produces a standard effect, and a critical success may fill in the whole clock in one shot.

Characters have a set amount of stress, which acts as a currency for how effective they can be in the scene. Characters can spend stress to resist consequences when they occur, as an example, but once the character is out of stress, they are no longer effective in the scene (they may not pass out or leave, but they won’t have any significant actions contributing to the group).

Characters

Scum and Villainy presents its character types in playbooks, in a manner that might be familiar to players of Powered by the Apocalypse games. Playbooks are essentially character classes that bundle a set of character options together for a player to choose. The character types presented in Scum and Villainy are the following:

  • Mechanic (a tinkerer and someone that can push the ship’s systems in a pinch)
  • Muscle (a gunslinger or bruiser whose main job is to punish opponents)
  • Mystic (someone that can touch the esoteric elements of the setting with mysterious powers)
  • Pilot (the character that can pull off maneuvers using the ship or vehicles more effectively)
  • Scoundrel (a character that gets by on doing all kinds of criminal things by pushing their luck)
  • Speaker (the person that can pull off a con or talk the group out of trouble they have gotten into)
  • Stitch (a doctor, medic, or scientist who can also patch up injuries)

Characters can trade one of their abilities in to define special Xeno abilities if they are from a non-human species, although the rules of exactly what a species can and can’t do will be defined by the player and the GM.

Ships and Crews

In Blades in the Dark, the party chooses what type of gang they are, and that choice introduces special rules that make the group better at doing the kind of work they specialize in. This same concept is present in Scum and Villainy, but instead of choosing a type of criminal gang, the group chooses a specific type of ship. The options included in this chapter include:

  • Stardancer (a light freighter type of ship good at hauling loads and doing all kinds of jobs)
  • Cerberus (a patrol craft that’s good for tracking and hunting bounties)
  • Firedrake (a small corvette that’s good at, well, starting localized rebellions that might grow larger)

Each ship has lists of modifications that the players can choose from, and those modifications usually require the team to either pay off, align with, or upset some faction or another. Your starting ship also influences how many gambits you start play with—extra dice that a character can add to their die pool when attempting an action. The Stardancer and Firedrake crews rely more on luck, while the Cerberus doesn’t grant it’s crew as many gambits. Ships also allow the crew an extra dot in actions based on the theme of the ship.

Each ship has a starting scenario, sample jobs, and a list of opportunities. These scenarios, jobs, and opportunities are all tailored to the ship’s theme, so the Firedrake will have various raids on Hegemony targets, and the Stardancer will have rumors about cargo that needs to arrive at a certain time or place.

Pre-release discussion mentioned that the modes of play for Scum and Villainy aligned with campaigns that might be more like Star Wars, Firefly, or Cowboy Bebop. It didn’t strike me until I read through the entry on the Firedrake that the Star Wars  “flavor” is very much in line with the early seasons of Star Wars Rebels, rather than Han, Chewie, or Lando’s adventures.

The Job

When doing a job in Scum and Villainy, you jump straight to the point, rolling an engagement roll to determine how far into the job you get before you hit an obstacle, and how dangerous a position you are in when that happens. Before you roll the engagement roll, you determine what kind of plan, which establishes your narrative position as the job starts. Those plans are:

  • Assault
  • Deception
  • Infiltration
  • Mystic
  • Social
  • Transport

This structure allows you to start playing very quickly, but I have to say, my own play group had a hard time coming up with using a mystic plan if you don’t have a mystic character or artifact, and transport kind of seems like it’s a “sub-category” of some of the other plans.

Characters will determine the load that they are carrying, either light, medium, or heavy. How much of a load determines how conspicuous a character is while doing the job and gives the character several checkboxes they can mark off to indicate that they brought just the right tool along for the job.

Because jobs start with characters already in the thick of it, characters can also call for flashbacks to determine what they might have already set in motion. Depending on how elaborate the action taken is, these flashbacks might cost 0, 1, 2, or more stress from the character’s stress track.

Downtime

The downtime section of the book introduces a very specific procedure for dealing with the aftermath of the jobs that the players just completed (or abandoned). Walking through these steps determines how much the PCs get paid, if they keep their ship in working order, how much heat they built up for the job they just did, and if that heat causes any immediate problems for the crew.

In addition to the procedure followed after the job, each player can spend two downtime actions to do a variety of things. These downtime activities include:

  • Acquire Asset (getting an asset for temporary use)
  • Craft (building a gadget)
  • Indulge Vice (doing one of your favorite things to help recover stress)
  • Lay Low (staying quiet to lower your heat)
  • Long-Term Project (starting and filling in a clock to represent a long-term plan)
  • Recover (healing from harm)
  • Repair (fixing things that went wrong on your ship)
  • Train (getting extra XP, because you don’t know how to relax during downtime)

Some of the little quirks of downtime I particularly enjoy—you can “spend” your friends and allies whenever someone shows up to arrest you, instead of going to jail or paying off the authorities. You can also overindulge in your vice and do something… ill-advised.

How to Play

The How to Play section of the book covers a wide variety of topics, starting with when to just narrate and react to the fiction, and when making a roll is interesting and furthers the story. This section also goes more into the philosophy of picking an action, determining position and effect, and giving details to the scene and to the actions being taken.

The next part of this section is a deep dive into the individual actions, giving examples of what the actions look like, what the GM should keep in mind when those actions are used. For each action, there are examples of what controlled, risky, and desperate looks like, as well as what reduced effects and serious complications might mean in context of that action.

The section ends with a list of player best practices. These include getting into the mindset of a character living a dangerous life in this kind of setting and engaging the rules to push the elements of the story that you want to see played out.

Running the Game

This section is aimed towards the person running the game. It details the goals the GM should have, the questions the GM should be asking, and the GM principles for running the game. There is a section of GM best practices, as well as GM bad habits, and how to get the game started.

This section has some nice, boldly highlighted advice on what to do to keep a session moving and highlights the major responses a GM should be making when the PCs act. The section on GM bad habits addresses baggage a GM might bring with them from games that don’t have the same structure as a Forged in the Dark game, such as assuming a specific action is the only way to resolve a situation.

This section also includes some of my favorite GMing advice that I appreciate whenever I see it repeated—don’t make the PCs look incompetent when they fail. They are awesome. They are the star of the show. Things just didn’t work out. What did that look like?

Science and the Strange

This section goes into the rules surrounding characters finding and using artifacts and designing and making gadgets. The rules surrounding artifacts dovetail with the setting lore on The Way, an energy field that binds and penetrates all things, but is also a little bit like the Warp from Warhammer 40K, depending on how you want to flavor it.

The section on artifacts details using the Attune action to interact with ancient technology, what effect the artifact has, and what kind of glitches it might have developed over the years. Artifacts have different scales on how far reaching their effects might be, and some examples are given. Some are simple personal weapons that aren’t as clumsy or random as a blaster, and others are literal rifts in the fabric of reality that let you travel from one star system to another.

I will admit, the rules for designing and building items using the crafting rules feel a little heavy for the effect they have on game play. Effectively, most items you build will do something very specific for a job, or it will do something with more effect than a similar, common piece of equipment. For that kind of narrative positioning, there are a lot of steps to walk through.

The Procyon Sector

This section of the book details the four main star systems of the Procyon Sector, a backwater of the galaxy where all the game’s action takes place. Because of the way the jump gates work in the setting, it’s easy to keep the galaxy narrowed down to a manageable size, where a limited number of systems means managing heat is something meaningful.

Each system gets a sub-section here, detailing important NPCs, planets, and various factions that are the most prominent in that region. In addition to suggesting what power groups might be in play in each system and on each planet, the descriptions also suggest what kind of jobs might be available where, and what locations are the best for lying low when the crew is in trouble.

In addition to the star systems in the Procyon Sector, each of the major factions at play get their own write-up, complete with goals, assets, enemies, and allies. The factions are divided up into Hegemony factions (strong ties to the ruling government), Weirdness (beings that look for ancient artifacts and/or deal with The Way), and Criminal (these folks don’t have much respect for the established rule of law).

The factions lend themselves towards different styles of campaigns. For example, there are rival mercenaries and assassins for bounty hunting PCs, renegade Imperial legionaries and the local imperial legion for rebellious PCs, and lots of shady groups that want something moved under the noses of the people that are the established rulers of the sector.

Changing the Game

This section of the book is all about optional rules and hacking the system to produce a different type of game. There are examples of how to make different special abilities, ship abilities, modified rules for using gambits, optional costs for space travel, and rules for affiliations with various guilds and factions.

Scum and Villainy versus Blades in the Dark

If you are familiar with Blades in the Dark, you may be wondering if the game has any major departures from that game, beyond the space opera setting. Some of the major mechanical differences are as follows:

  • You don’t track what turf you control in Scum and Villainy–your crew is on the move and your ship is your home
  • Healing clocks are a bit more forgiving–it’s a six-segment clock as opposed to a four-segment clock, but once you are healed, you are fully healed
  • Gambits are mentioned in the optional rules for Blades in the Dark, but they are a major feature of this game–there is often extra luck floating around for your interstellar rogues
  • Scum and Villainy has a built-in “end game” –when you reach +3 favor with a faction in Scum and Villainy, you do one last job for them that changes the sector in a big way, and retire your characters
At The Table

My local group of gamers managed to get this game to the table before I was finished writing this review, so I have a few extra insights to provide. In the interest of full disclosure, I have managed to play Blades in the Dark before, but I’ve never run a Forged in the Dark game, and none of my players had any previous play experience.

Position and effect can sound intimidating in the abstract, but if you remember to walk through stating what the obstacle is, asking what action the player wants to use, then determining position and effect, the rhythm of the process becomes comfortable in a short period of time. My group intentionally talked through some unlikely actions for a situation as kind of a warm-up, like what cracking a safe using sway would look like).

There are a lot of little steps, and it’s easy to forget a few of them. For example, my group completely forgot to pick a heritage. We also ended up backtracking through the ship modules, as we got ahead of ourselves when detailing the ship. Many of those little things are great details for long-term play, and I wish they were a little more obvious, but they didn’t get in the way of the normal flow of play and aren’t anything that can’t be added back in later, once it’s obvious that you missed a detail here or there.

It was very easy to start a job and resolve actions. The only prep I did for the game was to print out the rules references and the playbooks. I explained the rules as we were making up characters. We had a little bit of confusion over actions versus attributes, but that didn’t take long to clear up. For the most part, our gang of smugglers managed to steal a floating Way creature for a cultist while hauling a bunch of racing animals and avoiding getting smashed by a six-armed empathic ape. The rancher didn’t even find out he had a forged document until they were out of the system (3/4 segments on the clock).

Less than 12 ParsecsIt captures the feel of being a space criminal, bound for fortune and glory, while providing some substantive rules on which to hang a narrative. Share28Tweet18+11Reddit1Email

The game manages to strike a skillful balance between several extremes. Individual rules are simple, but the interaction of the rules is likely to keep players that appreciate longer-term play engaged as well. The setting is made up of many recognizable elements, but the individual factions have a lot of character and personality. It’s easy to understand what makes this universe tick. It captures the feel of being a space criminal, bound for fortune and glory, while providing some substantive rules on which to hang a narrative.

Even I Get Boarded Sometimes

Some of the character or ship details are easy to miss, even with the play aids and the detailed playbooks. There are a few elements that still feel like they are more re-flavored elements from Blades in the Dark, rather than integral space opera crime story elements.

The Way makes sense, as many space opera stories feature supernatural elements beyond “standard” science, but Way creatures feel like an attempt to keep ghosts, vampires, and demons in the game without as much backstory. The more involved process of creating arcane and alchemical items makes sense in the creepy, supernatural city of Duskvol, but using a similar process to make a blaster that is good enough to plug a legionnaire with full effect doesn’t feel as appropriate to the setting.

Recommended–If the product fits in your broad area of gaming interests, you are likely to be happy with this purchase.

If you like more narrative games, but still want to have enough rules to give you something to engage with over the course of a story arc, and you like space opera, you will appreciate this game. It uses the tropes of the genre well, and provides a setting with lots of personality, while still retaining a good amount of blank space for personalization.

Reading this book reminded me of my first forays into Powered by the Apocalypse games. I could never quite get comfortable with Dungeon World, for example, but games like Monster of the Week helped me to re-contextualize Dungeon World. I have a feeling that Scum and Villainy, with its space opera setting and slightly fewer moving pieces in campaign play, may do the same for Forged in the Dark games.

What is your favorite fusion of crime and space opera? Has any other RPG helped you pull off heists in a galaxy far, far away in a manner that you find satisfying? Are there any other Forged in the Dark games on the horizon that have your attention? Let me know in the comments. I’m looking forward to hearing from you!

Categories: Game Theory & Design

Becoming Ophelia - My travels through the Keywords Art Service Line - by Ashley Liu

Gamasutra.com Blogs - 21 August 2018 - 1:54am
The journey of an art asset through Keywords’ Art services line Have you ever wondered how the teams of artists at Keywords Studios collaborate on a new project, helping clients fully tell the story of their game characters, from start to finish?
Categories: Game Theory & Design

Coding guidelines for a debuggable code base - by Patrick Henschel

Gamasutra.com Blogs - 21 August 2018 - 1:40am
The coding style guidelines helped us to make our code base more debuggable, easier to read and maintain.
Categories: Game Theory & Design

Excitement brewing: Snap about to launch a game platform for Snapchat - by Dr. Michael Garbade

Gamasutra.com Blogs - 21 August 2018 - 12:19am
It is rumoured that Snap is about to launch a gaming platform within Snapchat. The forthcoming platform sounds exciting and several gaming enthusiasts are looking forward to it.
Categories: Game Theory & Design

Observations From A Gamer's Chair: Knowing your Gaming World

RPGNet - 21 August 2018 - 12:00am
Is your gaming group on the same page as you?
Categories: Game Theory & Design

Don't Miss: Creating dynamic audio in the destructible levels of Rainbow Six: Siege

Social/Online Games - Gamasutra - 20 August 2018 - 12:16pm

In this deep dive, audio director Louis Philippe Dion explores how the Siege dev team used strategically placed nodes to calculate the flow of sound in ever-changing, destructible battlegrounds. ...

Categories: Game Theory & Design

Valve's nearly $25M The International prize pool sets esports-wide record

Social/Online Games - Gamasutra - 20 August 2018 - 10:34am

Once again, Valve has beat out its own record-setting numbers from the previous year†™s event to launch its annual Dota 2 tournament with a record-breaking prize pool. ...

Categories: Game Theory & Design

Filtering Steam key scammers - by Eduardas Klenauskis

Gamasutra.com Blogs - 20 August 2018 - 6:31am
List of some things to check before sending your Steam key to every single requester.
Categories: Game Theory & Design

Shoot SFX - Procedural Audio - by Piotr Goj

Gamasutra.com Blogs - 20 August 2018 - 6:29am
In this tutorial I explain how to make SFX of shoot without sound file.
Categories: Game Theory & Design

Beyond Scriptable Objects: Unity Data Management with CastleDB - by Kyle Kukshtel

Gamasutra.com Blogs - 20 August 2018 - 6:27am
Unity's inability to fully separate game data from code is an issue that all developers eventually run into. After juggling ScriptableObjects for a few years, I've found a better way by porting CastleDB, a structured static JSON database, to Unity.
Categories: Game Theory & Design

Gnome Stew Notables – Donna Prior

Gnome Stew - 20 August 2018 - 5:06am

Donna “Danicia” Prior is the Sparkly Princess of Social Media & Community Management. She is currently the Organized Play Manager for Catan Studio and the Executive Director of OrcaCon, the inclusive tabletop games convention. She has worked in both video games and tabletop games. In short, gamer, geek, and future wife of Wedge Antilles. Lives on Twitter as @Danicia. Find Donna on about.me/Danicia and Twitch.tv/Danicia

What projects have you worked on?

I’ve been working in the games industry now since 2007, starting with the video game industry. I got my start on Pirates of the Burning Sea, Guild Wars 2, Gods & Heroes: Rome Rising, TERA Online, and numerous properties for SOE (Sony Online Entertainment). I met Chris Pramas, CEO of Green Ronin Publishing, while working on PotBS, as we both worked at Flying Lab. I started contracting with Green Ronin a few years ago as the Events Manager, handling the Gen Con volunteer GM presence and outlining a Volunteer GM Program aka the Green Ronin Freebooters. After my last video game layoff, I was forwarded the Organized Play gig with Catan by a friend and that’s where I am today.

 

You work in areas of gaming that are often overlooked in favor of the creators and designers, but the industry relies on hundreds, if not thousands, of people who are not  in the limelight. What does your job entail, and how did you get into that area of games?

My role as the Catan Organized Play Manager involves a lot of spreadsheets. Hah! I schedule regional Qualifier tournaments for the Catan National Championships where Catan is published in the English language. My largest amount of work is the US program, but I’ve also restructured the Canadian, UK, and Australia programs, plus created new programs for Ireland and Vietnam. I’ve still got so many more to put into place. I also coordinate and facilitate the Catan Masters Invitational, which is a special tournament for the top tier US players. Plus, I coordinate with our team and Asmodee for a presence at shows such as Origins, Gen Con, UK Games Expo, and more.

Whilst Organized Play Management is different from what I’ve been doing (Community Management), it still involves community outreach, communication, coordination of people and events. There’s an aspect of content creation, social media interactions, and more. My plan is to also build out some typical community gathering spaces, to help grow said community of both competitive and casual Catan players.

As far as Community Management as a career? I was actually hired right out of a game community to work on PotBS’ Community Team. I was naturally already doing outreach, working with fansites, moderating and running communities on forums, LiveJournal, and more. It was a natural progression to actually start doing it for a living. Left the IT field behind without looking back!

For the future, I’d love to do some more writing and freelance work.

You spend a ton of time traveling to conventions and events. What are your secrets for survival? 

Alone time! No, seriously! I avoid parties. I make sure to take extra care to eat and drink plenty of water. I will meet with friends for dinner sometimes, but otherwise, I am back in my room in the quiet, watching Netflix or reading. It helps, when you’re running a 64-person event with all the chaos that it entails. I tend to bring along protein snacks with me when doing shows, or pick some up when I arrive. Nuts, cheese, trail mix, that sort of thing. Carbs might get you a big energy rush at first, but then you crash right on down. I also don’t drink sodas, eat candy, or chug coffee. I sit whenever I can, as the standing in one place thing is super hard on one’s body.

For the travel part of it, I tend to pay for slight upgrades on flights. As example, if it’s not too expensive, I’ll upgrade to first class for the relaxation of it. Doesn’t always work, but I go for creature comforts whenever possible.

There’s a lot of discussion of community and community responsibility lately. How can we build a better, stronger gaming community that welcomes everyone?

Gosh, there’s so much to unpack with this one. Really, it has to start from the top down. Geeks & gamers are not an oppressed group. Gaming and geek things are mainstream, and we should welcome the chance to play with everyone.

First, companies and community leaders should actually listen to people who aren’t already gamers. You’ll get a very different response on what people want in games and game communities. Listen to why people don’t feel welcome in game stores. Why people have a hard time finding D&D groups, tabletop groups. Find ways of making people feel welcome, instead of excluding. As an example, I was visiting a local game store. I talked with the owner at some length. He’s got a heavy Magic & Warhammer clientele. That’s not bad at all, a lot of those stores are very successful. But he wants to create a hub where everyone feels welcome to play games. Where women and families feel welcome. I asked him, “Do you have tampons and pads in your restroom?” and he looked at me like I was speaking a different language. It’s not that he was excluding people intentionally; I felt he was truly baffled why he couldn’t generate a good board game meetup hangout establishment. He’s got LOTS of potential in his store, but he just doesn’t know how to fix it.

I am experienced with games for years and years, so you have to do something super jerky for me to feel unwelcome. But, your average consumer will totally feel unwelcome if your store looks like someone’s extended basement. Clutter, posters on the wall with masking tape. Dust, unpainted concrete floors. Broken furniture (or cheap Costco folding tables and chairs) and the like. If you want to become a destination for communities, you need to clean the place up and make it friendly. It’s a hard thing, too, because that all costs money, which is something not a lot of FLGS (friendly local game stores) have, with the margins on games being so tight. That’s where it starts. If you create a welcome and safe environment, don’t tolerate harassment and grossness, you start creating a healthy community.

If you wanna have grognard shop, that’s fine, too. Some folks like that and that’s okay for them. For me, it’s sad, because it means there are heaps of people who will never feel welcome to play games, but folks can run their business how they want.

You’re also an avid gamer. Which properties and settings do you most love?

I am an unabashed lover of Forgotten Realms. One of my hobbies is actually just making characters and developing backstories, in hopes of playing them in a game someday. Hell, I hope to play in a game where people love the Realms as much as I do, and will have a super RPG heavy campaign. (HINT HINT IF ANYONE IS LOOKING FOR PLAYERS). I’m a huge fan of the Shadowrun lore, but HATE the system(s). I hate math. There, I said it (I’ve got Dyscalculia). I’ve always been a big Classic Deadlands fan, but it’s super hard to find compatible players. I love love love the Dragon Age setting and hope to kick off a Roll20 campaign after con season. I don’t know Blue Rose as much as some, but I love the setting and nope to get into a campaign (or run one). And I AM SO VERY EXCITED ABOUT THE EXPANSE RPG.

What is your dream game? (Either to make, or play.)

Sense8. I would LOVE to play in the Sense8 world, or run a campaign. Once Modern AGE comes out, I may try to pull together a mini convention game if Joe Carriker will help me. We have been chatting about working on this for fun ever since the series came out. Of course, I started brainstorming characters to be in different Clusters.

What upcoming projects or events are you excited about? 

I DID MENTION THE EXPANSE, RIGHT? I am also excited about REVOLUTIONARIES — American War of Independence RPG, Good Society: A Jane Austen Roleplaying Game, Sigil & Sign — Cthulhu Mythos RPG where you play the cultist, Satanic Panic, Mysteries of the Yōkai: An RPG Inspired by Japanese Folklore, A Delve in the Cave: 5th Edition Adventure, Overlight RPG: A roleplaying game of kaleidoscopic fantasy, and and and…well… a lot of other things.

Categories: Game Theory & Design

Winter Storm Draco Annotated Source - by Ryan Veeder

Gamasutra.com Blogs - 20 August 2018 - 12:36am
Here's the Inform 7 source text to my 2014 game "Winter Storm Draco," a text adventure about foolishly walking home through a blizzard. I've annotated the code with notes about writing in Inform 7 and my own design process.
Categories: Game Theory & Design

ADAPTIVE GAMEPLAY AESTHETICS (PART 2): A Disruptive Game Design Framework - by Krzysztof Solarski

Gamasutra.com Blogs - 20 August 2018 - 12:35am
This 2-part essay provides a disruptive game design framework based on shape language and traditional composition for heightening physical empathy and the sensory experience of players with a focus on art and narrative-driven games and transmedia.
Categories: Game Theory & Design

Tension Vs. Tedium in Clash Royale: How Long Should Players Wait? - by Christian Karrs

Gamasutra.com Blogs - 20 August 2018 - 12:15am
When does pulse pounding tension drift into yawning tedium? Tactful inactive moments can be powerful tools for game-makers to create anticipation, but it can be difficult balancing to avoid boredom. This post looks at how this arises in Clash Royale.
Categories: Game Theory & Design

Fuzzy Thinking: Firing into Melee

RPGNet - 20 August 2018 - 12:00am
Fuzzy slings and arrows.
Categories: Game Theory & Design

Video Game Deep Cuts: A PICO Double Walking Dead

Social/Online Games - Gamasutra - 19 August 2018 - 6:16pm

This week's highlights include articles about new Walking Dead narrative & AR games, a talk on PICO-8's playfulness, and lots more besides. ...

Categories: Game Theory & Design

Pages

Subscribe to As If Productions aggregator - Game Theory & Design